Mapping Film-Farsi
Iranian Cinema The Essential Role of Locations in Iran's Pre-Revolutionary Cinema
by Javad Zeiny
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Book Presentation:
Iranian Cinema Mapping Film-Farsi: The Essential Role of Locations in Iran's Pre- Revolutionary Cinema By Javad Zeiny
The choice of location was a crucial aspect in the creation of most Iranian films from the 1930s to the end of the 1970s. These locations depicted in Iranian cinema become significant parts of the story in and of themselves, offering unique windows into the everyday life and culture of the pre-revolutionary period, as well as the richness and significance of Iranian history and culture overall. Film locations provided backdrops and shelter, served as sites for rituals, and were more often than not integral to the story, representing specific aspects of Iranian society and culture. As well, given their ubiquitous if non-speaking presence in Iranian cinema, film locations were not only physical spaces but also symbols of social interaction, religious practices, and familial dynamics, all of which added depth and intrigue to the narrative. Over time, the locations used in the pre-revolutionary Iranian cinema have become vital elements in the films themselves, as important as the directors, producers, actors, and others involved in their creation.
About the Author:
Dr. Javad Zeiny is a scholar, filmmaker, and curator specializing in film studies. He teaches at universities in France and Switzerland and holds degrees from the University of Fribourg (Switzerland), Concordia University (Canada), and Université Paris Cite (France). His research focuses on the histories, theories, and transnational trajectories of Iranian, Canadian, and U.S. cinema and media. He has a particular interest in underexplored film traditions, including pre-revolutionary Iranian popular cinema (film-farsi), as well as French-language and diasporic cinemas. He is the author of seven books, including Iranian Cinema: A National Cinema Under Influences (1900-1978: Before the Revolution), which demonstrates how a film culture shaped by external influences ultimately gave rise to a distinct national cinema, and Negotiating Screens: American Movies in Iran, the first archive-based study of the presence and role of American cinema in Iran from 1925 to the present. In addition, he has published numerous articles and essays in academic journals and cultural magazines in Canada, France, and Iran. As a filmmaker, his works have been screened and broadcast both in France and abroad, receiving critical recognition and awards. For two decades, he has held the position of artistic director of the Uninvited Film Festival in Paris, an independent platform devoted to the exhibition of alternative and historically underrepresented cinemas. He is also affiliated with international research initiatives such as Archive/Counter-Archive (York University, Canada) and Cinema Iranica (University of Toronto, Canada).
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